Vigilance: Genesis, Successes, Hopes, & More

Videographer Olga Gary wanted to dig a little deeper into the play and production process, so I sat down with her for this in-depth interview.

Writing in Elliptical Motion

Compelling dialogue rarely progresses in a logical, step-wise fashion. Rather, it contains a duality-- a line drive structure on the surface and an elliptical motion below.  Furthermore, there always exists a "break" in the linear movement.

You probably remember the exercise where someone asks you to adentify a serious of shapes:

The first you identified as a square; the second as a triangle; and the third you may have incorrectly called a circle. A circle doesn't have a gap in it-- your mind completed this one.  It "jumped the gap" in order to make the circular image fit with the others.  Good dialogue does the same thing.  The little gaps propel the dialogue

forward to the next idea.  These dialectic gaps, like the broken circle, are filled in by the imagination of the character who is listening.

Leave Room for the Insanity

Early in my career, playwright Joe Besecker urged me to leave more room for the insanity of my characters.  Over time I came to understand that insanity isn't a disconnect from reality; nor is it about the character's perculiarities and quirks (though garden variety insanity often expresses itself in disconnects and quirks).  It's about our inherent, irrational nature wreaking havoc on our everyday interactions.  We fall prey to it even in the most mundane conversations.  A line, statement, or question always has some earlier reference that colors it.  Because the characters arrive on stage with a history.  When two characters know each other well, that history can be shared; but even strangers carry a history into their conversations.  "Could you take out the trash?" carries the history of all the trash takings, of who got up at 2am to care for the baby, of who works longer hours or makes more money.  In real life those histories are (hopefully) dealth with and put to bed long before the simple question of trash is raised.  In the theatre, we only ask questions where the history is still raw-- where it is a driving force in the direction of the relationship.  And that history creates the elliptical motion of dialogue.  The line, statement, or question arcs backwards to collect the history of the character and then jumps forward into its expression. If you can pardon this poor drawing, the movement of dailogue looks more like this:

 The "Line" is the statement or question of the speaker. The listener connects it to their history, pushes it forward, and thus their reply is to both the speaker's words/subtext and their own history. The logic of the reply skips forward because now they are talking about two things.

Examine the language of Pinter.  It's incredibly jumpy and elliptical-- in ways that are often absolutely electric.  For those unfamiliar with his work, the size of the gaps can grow so large that Pinter tires out his audience who are left wondering what the characters are talking about.

Now look at Mamet's early work: it's highly repetitive, but at the same time the repetitions draw and build upon the characters' history and jump in their own manner.

As an example, consider the following bit of dialogue from Vigilance (yes, sooner or later I was bound to work our current production into the post).  The scene begins with Duncan proclaiming that he built the house Marla lives in.  He goes on to say that he never dreamed he would be living in one of those houses himself.  This follows:

  MARLA:  You live in Woodland Hills?

  DUNCAN:  2525 Stanford.

  MARLA:  You're... you won the house?

  DUNCAN: That's right.

  MARLA:  Well, congratulations.  I thought you owned a... uh....

  DUNCAN: Tattoo shop.  That's right.  I do some work on the side for my cousin.

  MARLA:  Building houses?

  DUNCAN:  Useta.  Back when I had to get my hands dirty.

This simple exchange is filled with dialectic jumps and ellipses. Take the first three lines: without ever discussing it, we learn that Duncan has newly arrived to Woodland Hills, and that there is some "issue around how he took possession of the house.  The issue has to do with him as a person-- Marla starts to refer to him and then switches to more objective, balanced language ("you're this" versus "you did this").  During the short exchange, the language-- and the silences-- are filled with judgement.  That's the history of their relationship, even though this is the first time they've met.  Notice when they speak in polite, complete sentences, and when they fragment and jump. A clear example is when Marla asks "Building houses?" and Duncan replies "Useta." He provides information not asked for.  The answer is both "yes" and the time frame, delivered in a slightly blunt manner.  He, in fact, chooses not to say yes directly.  At two points in the dialogue he implies yes, avoiding the opportunity to openly affirm Marla-- first when he could have said "yes I live at 2525 Stanford," and here when he might have answered "yes, back when I had to get my hands dirty."  These two aren't enemies yet, but they suspect they might become enemies.

Is this an example of compelling dialogue? I'll leave that to others to decide. But its a clear example of what I mean by jumps and elliptical structure. Are these characters "insane?" Do we see something irrational in their responses?  To compare, let's re-write the dialogue without the jumps:

  MARLA:  Do you live in Woodland Hills?

  DUNCAN: Yes, I live at 2525 Stanford.

  MARLA:  You're the one who won the house?

  DUNCAN:  That's right.

  MARLA:  Well congratulations.  I thought you owned a tattoo shop?

  DUNCAN:  That's right.  I do some work on the side for my cousin.

  MARLA:  Building houses for him?

  DUNCAN:  Yes. Back when I had to get my hands dirty.

We learn the same information, but do we have the same sense of the characters? Of how they feel about this information? Does it have the same energy?  Tension?  At this point, are we as the audience settling into our chairs for a long scene, or alert to the possibility that things may change in an instant?

So how does one make elliptical choices in their writing?  There are numerous ways to approach this, but most important is to know your characters.  The ellipses/jumps must come from them. Consider how they feel about each other and what they're saying... and then don't say it.  Reflect it.  Embrace that even strangers often know the end of each other's sentences and thoughts.  And choose moments in time with real stakes behind them.  In the above scene between Marla and Duncan, neither character has an overarching objective; there are no big goals or conflicts.  This 30 second fragment of dialogue is about testing.  Their goal is to understand each other. They're listening and responding. But their history and their instincts tell them that the other is about to become a sworn enemy.  And they do.

Make the Most of Your Evening in the Theatre

Ease Your Parking Pains
Get dinner before the show. Between 3 and 6pm there's no street parking downtown (during weekdays). If you arrive promptly at 5:45pm, you can park on the stree tof free-- the meter maids are gone for the day. That leaves plenty of time for a relaxing dinner.


Dine at One of the city's Best
If you've followed the parking advice above, you've got plenty of great restaurants within walking distance. To name just a few:

Colibri Mexican Bistro, 438 Geary: between Mason and Taylor, across the street from A.C.T. Theatre. <415-440-2737) Dinner Entrees $14 to 18, Specialty Cocktails and wines by the glass $8 to $16.

E&O Trading Co., 314 Sutter St.; San Francisco, 415-693-0303, Dinner Entrees $15 to 26, Full Bar.

First Crush Restaurant & Wine Bar, 101 Cyril Magnin, San Francisco, 415-982-7874, Dinner: Small Plates $8 to 14 and Large Plates $18 to 29, Full Bar.

Scala's Bistro, 432 Powell St. near Post., 415-395-8555, Dinner Entrees: $20-34, Bar menu: $3-16, Full Bar.

Sears Fine Food 439 Powell St. near Post., 415-986-0700, Dinner Entrees: $14.25-29.95.

Azul: Lounge and Tapas 1 Tillman Place; San Francisco, 415-362-9750, Tapas menu with one Dinner Plate: $4-13. Extensive Bar and Cocktail menu.

Wet Your Whistle at the Theatre
Second Wind has always believed that you shouldn't be gouged for a glass of wine or a cookie just becuase you're in the teatre, so we keep the lowest prices in town. Have a glass of Viogner or Zin for just $3. We recommend arriving 20 minutes before the show. (Or try our Elite Pass for special savings.)

Make Sure Your Smart Phone is Smart
Second Wind is the only company in the Bay Area that includes QR Codes in our programs. Access behind-the-scenes videos with your smart phone. You'll need a free QR Reader. Download one from your phone's app store.

Say Hello to an Actor
The concession stand doesn't close when the curtain goes down. Grab and drink and stay in the lobby. After about five minutes the actors begin to emerge in their street clothes. Say hellow, ask a question, or give them a pat on the back.

Running Late? Go with Plan B
If you're running a little late to the show we recommend the Stockton Street Garage. It's the cheapers in the area and about three blocks away. When you arrive at the theatre, buy a drink when you pick up your ticket. You can take it into the theatre. If the show has already started, we do allow late seating, but the concessions bar will be closed.

The Most Intimate Theatre Experience Imaginable

Second Wind has a new adventure. It's called The Elite Pass. It's a mini-membership that gets you closer than ever to the creative process, and it's perfect for theatre enthusiasts, students, and budding actors, directors, and theatre people. What do you get?
> One ticket to any performance of Vigilance
> Two workshops with playwright/director Ian Walker and Producer/Choreographer Misha Wyatt
> One free "youth ticket" for friends and family 12-17 years of age
> Half off all concessions
> Exclusive behind-the-scenes videos and articles
> And the ability to see the show a second time for free

It's the most intimate theatre experience imaginable.  And we've got a video glimpse of the program.

Get your Elite Pass Here.

Four Ways Were Changing Our Relationship to Our Audience

Transforming our Lobby into a Lounge. Utilizing QR Codes in our program. Opening the bar after the show. Initiating an Elite Pass for the production. Here’s why:

Transforming our lobby

We’ve got a small lobby—it has room for maybe four chairs, and is separated from the theatre by a curtain. It’s not the best of circumstances, and it often requires us to set up folding chairs in the hallway outside the lobby to accommodate early arrivals and overflow. In the past we’ve done things to spruce up our “inner” lobby: lit candles, projected images high up on the walls, filled the space with old show posters, and offered free hot chocolate (that was a big hit). But it still says, “wait here a minute, the real entertainment soon.” It’s a “waiting room.” Why am I telling audience members not to engage in conversation? Not to connect? Not to enjoy themselves? So we’re moving comfy furniture into the lobby and even the outer hallway.

QR Codes

You know, that funny little black and white square with dark speckles in it. If your smartphone has the right app, you can take a picture of it and visit a website or see a short video. Like a lot of marketing innovations it’s become all the rage without a whole lot of evaluation, but I figure within the setting of a theatre auditorium having one person use the QR code gets 2-5 neighbors in on the fun. Want to hear an actor talk about his role? Hear the playwright’s description of the play? Get clues on who done it? All they have to do is open their program, point and click.

Open the Bar

People tend to flee the theater after the show, even if they enjoyed the show. That’s cool. But we also want people to talk about the show and engage with the art form. So even if the attendance doesn’t merit it, we’ll be keeping the bar open after the show and inviting folks to chat with the artists.

The New Elite Pass

Make theatre more than a business transaction of dollars for stage entertainment—that’s what this new program is about. We’re encouraging people to get involved not just for two hours, but two months by offering inside looks, workshops, right of return, discounted food and drink. For just $35, the price of many shows in SF, you get a whole experience. It’s our new adventure. For everyone involved. And frankly, we think it's the most intimate theatre experience in the nation. Check it out at www.secondwind.8m.com/AboutElite.html

So come tell us how we did.
Vigilance runs February 2nd thru the 25th at The Phoenix Theatre.

Vigilance in Rehearsal, Week Three

It's been a while since we posted a video entry to our blog. As we turn from staging to run throughs and polish, we offer a look back on what we've been up to.

We've got a few more tricks up our sleeve for this production. It's never too late to get tickets!

VIGILANCE

by Ian Walker

February 2-25th at The Phoenix Theatre, 414 Mason St., San Francisco

A hostile newcomer drives his neighbors down a path of mutual destruction, laying bar long-buried secrets in this richly imagined, NY John Gold Prize-winner thrill from Bay Area playwright Ian Walker.

2nd Wind's 5 Most Useful Posts for Producers, Directors, & Designers

Second Wind’s blog has posted over 60 entries into our behind-the-scenes diary over the past four years. So we’ve decided to cull the best of our resources and guides for producers, directors, and designers (sorry actors, you’ll have to wait your turn). Here they are:

Your Design Portfolio / Getting Hired
Advice from the pros and tips for sealing the deal. Get hired as a designer.
http://secondwindtheatre.blogspot.com/2011/12/your-design-portfolio-getting-hired.html

Strategic Marketing Plan for Theatre
We lay out our complete marketing plan for The Tender King, no holds barred. How does yours compare?
http://secondwindtheatre.blogspot.com/2010/11/my-least-favorite-thing-about-producing.html

Starting a Visual/Emotional Palette
You’re a director—what do you know about design? Help on using visuals to hone your directorial work, and communicate better with designers.
http://secondwindtheatre.blogspot.com/2010/03/starting-visual-emotional-palette.html

Taking the Press Photo
We share our top six tips for a knock-out press photo.
http://secondwindtheatre.blogspot.com/2010/03/starting-visual-emotional-palette.html

Ah Paperwork!
Nobody likes it; everybody’s got to do it. No, I’m not talking about death— I’m talking about paperwork. We share some of our more useful examples of forms for producing, including press releases, contracts for designers/actors, rehearsal forms, marketing tools, etc.
http://secondwindtheatre.blogspot.com/2008/11/ah-paperwork.html

And a bonus... Mastering the Art of the Question

Directors are forbidden to give "line readings" and for good reason. Telling an actor exactly what you want is a sure-fire way of creating an awkward, unconvincing performance. There are a number of ways to "guide" a performance; the most effective technique is about asking the right questions that create a common viewpoint. And it cannot be practiced-- or utilized-- enough.

http://secondwindtheatre.blogspot.com/2010/03/mastering-art-of-question.html

Your Design Portfolio / Getting Hired

Personally, I don’t know much about putting together a designer’s portfolio. I know I like pretty pictures, so I understand that a bad portfolio can undermine a good designer’s work. So rather than pretend that I have expertise in this area, I’m going to link you to someone who apparently has: Pro designers Chuck Meacham and William Kenyon write about how to put together your first design portfolio, or improve your current one.

http://schooltheatre.org/publications/dramatics/2006/05/building-your-first-portfolio

I may not be an expert on putting together a portfolio, but I as a director and producer I judge them as a part of the hiring process. Variety is a key element, and I like to see the most unusual designs they've created. I also like to see the work in progress: sketches, sketches in development, and fabric swatches if you’re a costumer; lighting plots if you’re a light designer, etc. I’ll explain why:

Your portfolio is both your foot in the door and the final piece of icing. The finished examples of your work are what will get you an interview. The work-in-progress is what will get you hired.

Here’s what’s true for me as a director/producer. If I call you in for an interview, I already believe you’re talented enough to do the job. I’m interviewing you because 1) I want to know why you versus another candidate; and 2) I want to get a glimpse of how we will work together. Focus on what makes your work distinctive and unique, and tell me something about how we’ll collaborate. Whenever I interview anyone—whether a designer or a crew person—I always ask two questions: What do you need to do your best work? And how can I as the director/producer support you? When we finish the interview I want to know how to proceed with you in that position.

The First Read Through

Our first week is done. And I have to say, I'm honored by the actors who are contributing their talent to this production. After a week of table-work, I'm deeply impressed by the level of empathy they hold, their ability to step inside the characters and see the world from their perspective.

Table-work is always a bit challenging for me; I'm never as helpful-- or insightful-- in a chair as I am up on my feet. We've spent an entire week doing it (our only week of rehearsals in December). The cast has been, let's say... patient with me.

I usually do a video montage of our first read (that'll appear on our Elite Pass pages soon). This time, a few images:

The majority (and best) of these were shot by Olya Gary.

And remember, it's never to early to buy Tickets!

Ficke Me

Anyone paying attention will surely note that I'm not a regular blogger (or tweeter for that matter). Once in a blue moon I'll explain that 2nd Wind's Blog and Twitter only come alive when we're in production. We had a short hiatus this year, so that period of silence was longer than usual. But as you can see... with each word that skims past your optic nerve... I'm writing again. Which means we're producing again.

The problem with only writing when in production is that it leaves the impression that our blog is little more than a marketing tool designed to part you, the reader, from your hard-earned cash. But the truth is that while my "noise" is sometimes about ticket sales, my "silence" is never about that at all. Only the luckiest of artists doesn't pine for more time to create. The hours are elusive, and it takes days, weeks, and sometimes years to fashion a single piece. When I blog or tweet (especially if I'm trying to tweet about something other than my lunch), a fair a mount of time vanishes into planning and implementation. It uses a different part of my brain, and the writing juices stagnate and dry.

This blog is devoted to opening up the process of creating theatre. It's about holding a shared space for artists and audiences. I believe that to be hugely important. I believe that the mystery and magic of creation is so deep, that sharing it-- unveiling its secrets-- only leads to deeper magic. But writing... writing is something different.

Playwrights are constantly encouraged (and badgered) to be collaborative artists. We're asked to workshop, develop, co-create, and explain. Sometimes these requests come at the perfect time to aide our work. There are writers who thrive on this interaction; and yet I don't think it should ever be considered integral or expected. The idea that artists should be collaborative frankly irritates the bejesus out of me.

Actors need privacy to explore and take risks in order to give the most truthful, powerful performance they can. Designer's need quiet and solitude to create and refine their ideas. Playwrights, tasked with creating a rickly detailed and complete world, need privacy and solitutde to imagine, explore, and document that world. So while at times I wish I could continue the online conversation, there are periods when I need to withdraw into my creative cave, my only offering being the promise of something wondrous upon my return.

Over the next three months we're going to being pushing the boundaries of the sharing process. This blog will come alive again. This time round, I'm hoping to open the discussion even further, talking with theatre pros from other companies and organizations. In addition to producing a new piece of theatre, we're exploring some new ways of doing business-- of involving audiences and promoting discussion. So come back and join us on the journey. It's sure to be a ride.

Vigilance

Feb 2-25

Phoenix Theatre, SF

http://www.secondwind.8m.com/